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notation of rhythmic irrationals is a characteristic of Janáček’s pre-première changes, and he continued tinkering with the nuances of vocal rhythms in his later revisions. Ex. 3.4 Ex. 3.5 shows the original notation (triplets throughout) of the Foreman’s ‘Vidíš, Laco, to je mi podivné’ [You see, Laca, that’s what I find strange] in Act 1 Scene 2. The pre-première revision of 1903 replaced these triplets with duple rhythms, whilst the 1907/8 changes resulted in a mixture of the two (cf. Ex. 2.2): Ex. 3.5 One of the most striking pre-première revisions occurs in Act 2 Scene 7, when Jenůfa, after lamenting the death of her baby (‘Tož umřel’ [He died then]), asks the Kostelnička: ‘A co Števa?’ [And what of Števa?] (fig. 103). In the versions of 1904 onwards, this is a moment of hiatus: as the timpani strokes die away, the 81
accompaniment evaporates completely, so that Jenůfa is left singing alone at the tempo change to Larghetto. However, until 1903 this passage had in fact featured a continuous orchestral accompaniment, with a steady tread of crotchets in the strings and timpani plus sustained wind chords, and no change of tempo: Ex. 3.6a 82
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THE 1904 VERSION OF LEOŠ JANÁČEK
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FOR MY FRIENDS, WITHOUT WHOSE NEVER
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APPENDICES 145 APPENDIX I Programme
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Jenůfa. Thanks in part to a certai
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our knowledge of the work’s overa
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Acknowledgements That the project o
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using it. However long this project
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people who have helped me through v
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NOTES Copyright The reconstruction
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UE 1996 Cz./Ger./Eng. full score, e
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1903 version (Urfassung/original ve
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Of Janáček’s nine completed ope
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manuscript sources. There are never
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surviving sketch-leaf (SK) is anyth
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and effort, both physical and emoti
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performed in January 1904. In addit
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most of the critics there were form
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1.5 Later revisions and publication
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Jenůfa for Prague towards the end
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That situation changed, however, wh
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CHAPTER 2: SOURCES AND RECONSTRUCTI
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folio suggests that this brief sket
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ŠFS into line with the Kovařovic
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Fig. 2.2 ŠFS I 203v, detail, rotat
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or other details (erased or otherwi
Page 51 and 52: Fig. 2.5 ŠVS II 53r (II/vi/126-43)
Page 53 and 54: list is amended by Janáček, with
Page 55 and 56: Fig. 2.6 OP violin 1: detail from A
Page 57 and 58: 1904 bn 2 [OP] OPx title page and
Page 59 and 60: On the facing page (the recto of th
Page 61 and 62: Fig. 2.9 LB, 55: end of Act 3, show
Page 63 and 64: issues of practical, pre-revision u
Page 65 and 66: Jenůfa in 1913, providing a ‘sna
Page 67 and 68: 2.2 Determining the 1904 version fr
Page 69 and 70: Štědroň 1968b Tyrrell 1996 / Tyr
Page 71 and 72: two ensembles in Act 1, ‘A vy, mu
Page 73 and 74: een cut before the première. 46 Th
Page 75 and 76: and 2 in unison (in the context of
Page 77 and 78: nature of the changes, which can th
Page 79 and 80: anomalous status there. 50 A furthe
Page 81 and 82: Ex. 2.4b However much more practica
Page 83 and 84: score. Playing standards have impro
Page 85 and 86: Such instances have been tacitly co
Page 87 and 88: Ex. 2.7 Articulation and phrasing E
Page 89 and 90: Instrumentation In line with Univer
Page 91 and 92: trombone 3 part, and in both ŠFS a
Page 93 and 94: Act 1. On the basis of all availabl
Page 95 and 96: development of twentieth-century op
Page 97 and 98: 3.1 The Urfassung and the pre-premi
Page 99 and 100: seems also to reflect an original c
Page 101: could speculate that the change of
Page 105 and 106: This radical pre-première revision
Page 107 and 108: corresponds to the present figs 122
Page 109 and 110: more specific cuts, the first of tw
Page 111 and 112: with the same words, but also agree
Page 113 and 114: and 16b in APPENDIX IV) to Laca’s
Page 115 and 116: y Laca’s ‘Chci, Jenůfka’ —
Page 117 and 118: Other extensive cuts made at this s
Page 119 and 120: Ex. 3.12 3.3.2 Textural alterations
Page 121 and 122: Ex. 3.13b This revision is similar
Page 123 and 124: Ex. 3.16 Sinfonietta VI/18 (1926),
Page 125 and 126: Ex. 3.19 Other instances of motivic
Page 127 and 128: In 1908 Janáček delays the appear
Page 129 and 130: Whilst a general trend at this stag
Page 131 and 132: Ex. 3.25b 3.3.3 Folk passages and t
Page 133 and 134: Fig. 3.2 BJ III, 900. The use by et
Page 135 and 136: sketch for the oboe melody of the p
Page 137 and 138: Ex. 3.27c In his 1907 changes to th
Page 139 and 140: Janáček added ‘Maestoso con mot
Page 141 and 142: Jenůfa’s cheek is slashed, but a
Page 143 and 144: Ex. 3.33a Ex. 3.33b 122
Page 145 and 146: so that the stress fell on the firs
Page 147 and 148: the controversy surrounding Josef C
Page 149 and 150: Although numerous instances of smal
Page 151 and 152: Ex. 3.42a Ex. 3.42b This example al
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‘vertical’ dimensions: the harm
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most pages of the score; unlike Jan
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establishment of the 1904 score, pu
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London audiences at the time, 54 Bu
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Jenůfa can also be viewed as part
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(particularly in textural terms) cl
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genre might offer in his own quest
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APPENDIX I Programme note from the
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APPENDIX II Letter from Cyril Metod
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On Saturday following your departur
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APPENDIX IV 1906 cuts in ŠVS, ŠFS
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Act/sc/bar No. of bars II/viii/187-
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Reh. fig. ŠFS KPU UE 1917 10 21
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Reh. fig. ŠFS KPU UE 1917 80 57 51
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Reh. fig. ŠFS KPU UE 1917 86 8 →
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APPENDIX VI Janáček, Jenůfa and
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seem to be post-copying additions (
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Janáček attempted to pursue the m
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Fig. A6.1 Diagrammatic representati
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to use the four-row instrument well
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conducted a programme of choral and
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its icy tone will be damped’ sugg
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APPENDIX VII Bar counts for the dif
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APPENDIX VIIIa ŠVS I 72v-73r: tran
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APPENDIX VIIIb ŠVS I 72v-73r: tran
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APPENDIX IX ŠFS I 197v-200v: trans
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188
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190
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192
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JODA John Tyrrell: Janáček’s op
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Dürr 1968 Joannes Martin Dürr:
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Smaczny 1985 Jan Smaczny: ‘Janá
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Vogel 1981 ——: Leoš Janáček:
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